They're also holding crowns, which they'll be offering to Christ. Deeply rooted in the classical tradition. We are clearly looking not at a wild forest but a garden, one cared for by men and women. Collectively we are that lost sheep, and the good angels are the ninety-nine not lost. - [Beth] These were foreigners. The altar table, symbolically speaking, is the exclusive prerogative of the Church, but the ciborium protects this altar, and this protection the state can offer through its laws and privileges. In so doing, Christ raised up the created and fallen human life that He had assumed (the six days of creation), so that it could participate in divine and eternal life (the eighth day). Lukes mention of eight days is a further affirmation of this interpretation. There is some iconography that can only be described as miraculous. 5 April 2006. This tier capitulates all that happens below. - [Steven] Their outfits are spectacular. In fact it replaces the mountain with a garden, a paradise. It was erected by the Ostrogothic king Theodoric the Great as his palace chapel during the first quarter of the 6th century (as attested to in the Liber Pontificalis ). how the arts work together in the Aaron with the tabernacle. For the sake of completeness we can mention the date palms that stand either side of the apse. The Scriptures after all end in the city of God coming down out of heaven to earth, radiant in its fullness, for the glory of God gives it light, and the Lamb is its lamp (Rev. That will give you the perfect overview of Ravenna's history before you see the mosaics in situ. Luke tells us that they were speaking about Christs departure about to be fulfilled in Jerusalem. He stands behind an altar with two loaves and a chalice. The phrase Son of Man coming in his Kingdom the phrase often used to describe Christs Second Coming at the end of the age. Bishop Apollinare is celebrating the liturgy. This same Jesus, who has been taken from you into heaven, will come back in the same way you have seen him go into heaven (Acts 1:11). But what of its many differences? Creative Commons Attribution/Non-Commercial/Share-Alike. (The Feast of the Transfiguration, Great Vespers, Aposticha). It is in fact a depiction of the Transfiguration of Christ, as described in the Gospel accounts of Matthew 17:1-8, Mark 9:2-8 and, most notably, Luke 9:28-36. The platytera in the apse; pantokrator in the dome; etc, although of course traditional and significant, are not the only things we can put in our churches. 0% 0% found this document not useful, Mark this document as not useful than everybody else because he is more important. In SantApollinare Nuovo, the faces and hands in several of the Christ scenes are set not with glass tesserae but with cubes of stone. Through the Spirit dwelling within them and transfiguring them He will be closer than if He were present only in the flesh as a human individual. These delighted my senses, but at the same time inflamed my curiosity to find their source and enter this garden. Mosaics in the nave of Sant'Apollinare Nuovo in Ravenna (northern Italy) depicting twenty-two female saints, preceded by the three Magi, processing towards the Virgin and Child, and twenty-six male saints, probably originally preceded by *Stephen (the First Martyr, S00030), processing towards Christ; created under Bishop Agnellus, 557/570. In Christian symbolism bees represent the immortality of the soul and the resurrection (for a hive seems to come back from the dead after three months of winter hibernation). They delight the beholder immediately but at the same time possess layer upon layer of meaning, which reveal themselves only to the patient. Which phrase best describes the style of the Christ as Good Shepherd mosaic from the Mausoleum of Galla Placidia at Ravenna? In this context it is worthwhile tracing the development of the word paradise, since its many associations accrued over time are present in our mosaic. It was reconsecrated in 561 AD, under the rule of the Byzantine emperor . He's made Ravenna his capital. Yellow or deeper green tesserae surround each created thing. In the Gospel of Matthew Christ tells us that at His coming again there will appear the sign of the Son of Man in heaven (Matthew 24:30). These mosaics por-tray, on the south wall, the palace (palatium) of the Amal king Theoderic conated with a prole of the urban landscape of Ravenna and, on the north wall, a prole of the nearby suburb of Classe. It depicts the priest King Melchezidek standing behind an altar with bread and wine, with Abel offering a lamb on his right, and Abraham offering Isaac on his left. Below, in the apse mosaic: Saint Apollinaris praying for the faithful (twelve lambs). The mosaics are divided into three tiers. Six sheep come out of each gate towards Christ who is depicted in the centre. It is here, during the Holy Liturgy, that the Holy Spirit descends and makes the bread the Body of Christ, and the wine His Blood. So our mosaic suggests a link between this promise to Abraham and the kingdom to come, in which the faithful from many nations are gathered into the New Jerusalem, the kingdom of God, to live in an everlasting covenant with Christ. But now we know the praises of this pillar,which glowing fire ignites for God's honour,a fire into many flames divided,yet never dimmed by sharing of its light,for it is fed by melting wax,drawn out by mother beesto build a torch so precious.[2]. How does one overcome this obstacle and encourage the commissioners of these works to open their minds a bit? In Roman times they also represented victory. The artists power over his or her medium is that of craft and wisdom (Minerva the Roman god of wisdom was pertinently also the good of crafts). It is a place of intimacy, a place to dwell and enjoy. Their authority therefore exists not to subjugate and oppress their medium, but to raise it up and make it even more articulate. of the arts to the beauty of the Kingdom of God Once senses an affirmation of St Pauls (and St Gregory of Nyssas) assurances that even in eternity we shall continue to grow in His likeness, passing from glory to glory (2 Corinthians 3:18). I think there are few examples of liturgical art that embody such a wide spectrum of Christs work as this mosaic at SantApollinare in Classe. Our editors will review what youve submitted and determine whether to revise the article. We have already discussed how the cross represents Christs Second Coming, of which His transfiguration is a foretaste. . figures that are seated around a table that are The secret to this mosaic lies in the fact that it depicts not merely the past, but also the present and the future. Our God-given power within the world is, I think, best understood in an artistic sense rather than exploitative. In this context it is worthwhile tracing the development of the word paradise, since the many associations it has accrued over time are present in our mosaic. How do we know that this mosaic depicts the Transfiguration? at the east end of the church. Imagine a verdant garden. Or to use another analogy, as spiritual gardeners we are to cultivate the wild and wonderful world into a garden. Truly I tell you, some who are standing here will not taste death before they see the kingdom of God.. Two men, Moses and Elijah, appeared in glorious splendour, talking with Jesus. Despite its former arian cult, the inner mosaic decoration shows two implementation phases: around 561, after Goths were run out of town, the church was converted to Catholic orthodoxy (Justinian's Edict) and consecrated to Tours' Bishop, with the name of St. Martin in "Gold Heaven" - because of its shining gold lacunar ceiling. In this case, He has become the Gardener in Eden. Place a check (V)(\boldsymbol{V})(V) in the blank next to each sentence that uses capitalization correctly. The number eight arises again in this context, linking the Abrahamic covenant with the Transfiguration and Resurrection: God commands the Israelites to circumcise all their males eight days after their birth (17:12). On the left side are the secular authorities: the emperor and his brothers Heraclius and Tiberius, with a fourth figure holding a ciborium. and their confrontation. 6th century (Original mosaics ca. Brilliant! While he was speaking, a cloud appeared and covered them, and they were afraid as they entered the cloud. God created the world in six days, and rested on the seventh. They spoke about his departure, which he was about to bring to fulfilment at Jerusalem. art history and theory. On the north wall of the apse, opposite the Melchezidek work, is a depiction of the Eastern Roman emperor Constantine IV (668-685) granting certain privileges - probably tax concessions - to Ravennas archbishops. A hand symbolizing the voice of the Father. Hence we find below the cross also the Latin words, Salus Mundi, the salvation of the world. Above that are smaller Ravenna was the seat of the Roman Empire in the 5th century and then of Byzantine Italy until the 8th century. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked. In other words, His second coming will be like His Ascension, with a cloud of witnesses (the stars), accompanied by the sign of the Son of Man (the cross). It was originally an Arian cathedral but became a Catholic church in 570. It is set in divine time, in kairos, where past, present and future exist together in Christ. The Byzantine navy was the naval force of the East Roman or Byzantine Empire. to reflect Arian beliefs. We will never know for certain because the designer did not write his or her explanation. This is usually taken to refer primarily to His crucifixion, but I would suggest that at the same time it refers to His Ascension, His departure from earth into heaven. Luke tells us that they were speaking about Christs departure about to be fulfilled in Jerusalem. Of much greater significance, however, are the sumptuous mosaics that cover the walls of the nave. The Lords command to Adam and Eve to fill the earth and subdue it (Genesis 1:28) needs to be understood in just this transformative sense. Abraham is also priestly, ready even to offer his own son on the altar. Mosaics, Sant'Apollinare in Classe, Ravenna, 6th century. There He walks and talks with us. St Apollinare himself is clothed in a brilliant white dalmatic under his chasuble. God the Father ought not be depicted, for He was not incarnate. largest figure, Christ, dressed in imperial purple. Because this image is so multivalenced, I think the simplest approach is to work verse by verse through Lukes description of the Transfiguration and see how the mosaic interprets his words. When one sees it in the flesh it seems both vast and verdant. We are witnessing the material word shining with light, like Christs garment on Mount Tabor. the scene for a moment. Our mosaic concentrates not so much on the event as on its outcome, its purpose. a long line of male martyrs parallel the female In our mosaic we find coloured clouds both in the apse and also on the uppermost register (executed in the 9th century) atop the triumphal arch. A mountaintop is a place of ecstasy, from which we eventually have to descend. As Metropolitan Kallistos Ware has written, One is priest (Christ); some are priests (the ordained clergy); all are priests (the laity). This is usually taken to refer primarily to His crucifixion, but I would suggest that at the same time it can refer to His Ascension, His departure from earth into heaven. The priesthood and regal role of Saint Apollinare depicted below is a participation in the priesthood and kingship of the Archpriest and King of kings depicted above. Please check your email for further instructions. The Scriptures after all end in the city of God coming down out of heaven to earth, radiant in its fullness, for the glory of God gives it light, and the Lamb is its lamp (Rev. It is a precursor to the rich vision that St Maximus the Confessor was to write about a century later, where in Christ the human person becomes both microcosm and mediator, to use Lars Thunbergs phrase. It is however not impossible that it is a remake of an earlier work made at the same time as the conch mosaic, in the sixth century. As an aside, it is interesting to contrast this scene with that in Genesis. Either side of the crosss arms are the Greek letters Alpha and Omega, the first and last letters of the alphabet. Unlike perhaps the most 21:23). people changes the images for "political" purposes. One reason is suggested by an Orthodox liturgical text: He wanted not only to display His divinity, but also to show us what it is to be fully human: I am he who is, was transfigured today upon Mount Tabor before the disciples; and in His own person He showed them the nature of man, arrayed in the original beauty of the Image. Natural landscape. A large church built to look . All this fecundity is finally embraced and contained by a broad arch of foliage that supports a host of birds, singing no doubt. Something went wrong. that would have been right next to this church. Thank you! Even when we do have good and creative alternatives to the usual imagery, we are discouraged and repressed. So the cross in our mosaic is the sign of the Son of Man that will appear in the heavens in the last days, a sign of His Second Coming. b. Basilica of Sant'Apollinare Nuovo, Ravenna, Italy, Magic Lantern Glass Slide. - [Beth] The church began Eight is thus a symbol of the created world assumed into the divine life, in a union without confusion. - [Beth] The female virgin martyrs that we see all carry crowns. The Journal presents these Through the Spirit dwelling within them and transfiguring them He will be closer than if He were present only in the flesh as a human individual. This in part explains the special luminosity of our mosaic. Secondly, the curvature of the apse itself is a form of enclosure. Quite remarkably, close inspection of the little golden designs on Saint Apollinares chasuble reveals that they are in fact bees (see figure 13). The mosaics are quite exceptional, and can be seen along the entire length of both sides of the nave above the arches. A detail from SantApollinare Nuovo, to showthe brilliance of the smalti colours. - [Steven] On the south wall We're not sure who they are. Moses and Elijah are depicted plainly either side of the cross. For this reason the Son also appeared in the fullness of time to show how the copy resembles Him.[1]. In this article I want to explore some of the themes expressed by this splendid mosaic. Others may or may not have been. God created the world in six days, and rested on the seventh. To this theme we shall now turn. The number ninety-nine appears again in the Bible and offers a second, complementary layer of meaning. scenes of the life of Christ. This suggests, as with Melchezidek, a union of priestly and royal ministries. The phrase Son of Man coming in his Kingdom is often used to describe Christs Second Coming at the end of the age. The purpose of His incarnation was to gather all creation into Himself, and in particular to unite our human nature with His own divine nature. 405-431 and builder of Ravennas cathedral and baptistery; and Ursicinus (VRSISINVS), bishop 533 -536, and commissioner of SantApollinare in Classe. It was erected by the Ostrogothic king Theodoric the Great, image c.1880's. RM M10Y23 - Statue of Jesus Christ Basilica Di Sant Apollinare Nuovo in Ravenna Italy. Although its immediate purpose is to act as a sort of witness to a legal contract, reminding future emperors of the Ravenna bishops rights, it also fits very well into our priestly king theme. About eight days after Jesus said this, he took Peter, John and James with him and went up onto a mountain to pray. that sacrament of the Eucharist that would have happened here We are clearly looking not at a wild forest but a garden, one cared for by men and women. to build a torch so precious.[2]. In the upper reaches of the Church of Sant'Apollinare Nuovo in Ravenna, just below the painted wood ceiling, appears a striking series of 26 mosaics portraying the life and passion of Jesus. Finally, paradise came to be equated with Eden through the Septuagint translation of the Hebrew Bible into Greek. Is this precise number significant? But what stands out most to the viewer is the whiteness of the sheep against the green and to a lesser extent also Moses and Elijah, whose white is not quite so contrasting against the golden background. There are in fact ninety-nine stars in our mosaic. As kings as well as priests, we are called not just to give thanks for all creation, but also to work within it to transform it like bees. The Basilica of SantApollinare Nuovo was also erected by Theuderic. For this reason the Son also appeared in the fullness of time to show how the copy resembles Him.[1]. One key to the deeper meaning of our mosaic is given in fact some days before the event of the Transfiguration itself. The highest trees are arranged in a row along the top, at a similar distance from each other but not precisely so, and each is a little different from the others. - Animals. They are labelled Moses and Elijah (MOYSES and HbELYAS to be precise), and it is they who appeared with Christ during the Transfiguration. There, according to the Genesis account, God placed us humans and give us the task to cultivate it. a fire into many flames divided, this gift from your most holy Church. I commend this study as a first to be done. Some of the Church Fathers say that Adam and Eve were in fact clothed with light before the fall, and only became naked when they turned from Gods way. So the garden around Apollinare is the outcome of love and craft, and of God and man working together in synergy. My first encounter with this mosaic I can best liken to smelling a host of fragrances that drift over the wall of a concealed garden. Both the mosaic and the synoptic Gospel accounts affirm that the Transfiguration was in fact a foretaste given to the three apostles - and to us of His coming again in glory to establish His Kingdom without end. Luke tells us that eight days before His Transfiguration (Matthew and Mark say six), Christ spoke to His disciples of His Second Coming, saying that He would come in His glory and in the glory of the Father and of the holy angels. It is set in divine time, in kairos, where past, present and future exist together in Christ. Our mosaic concentrates not so much on the event as on its outcome, its purpose. Abel the shepherd stands to his right offering a lamb, and Abraham to his left offering his son Isaac. We were made in the image of God, but had the task to grow in His likeness through love for and obedience to Him. The word began as an old Iranian word, paridayda, and signified a walled enclosure. By the 6th century BC the Assyrians adopted it as pardesu, domain. The wise artist or craftsperson uses their power over the medium with love and discernment, to raise the raw material into something even more beautiful. We see Christ with his 12 Apostles. But I would suggest that our cross also suggests the Ascension, or rather the words of the angels accompanying the Ascension: Men of Galilee, they said, why do you stand here looking into the sky? Thirdly, on the verticals of the triumphal arch either side of the apse are depicted Archangels Michael and Gabriel. It is a place of intimacy, a place to dwell and enjoy.People visit mountaintops, but they do not stay there. The mosaic is a profound theological discourse. NOT! In Aramaic it explicitly refers to a royal park. It is at once historical, liturgical and eschatological (a fancy word which means the study of the end times). why was the mausoleum a location for imperial burials? Being a human person capable of a relationship with the living God, Saint Apollinare has a halo of gold. Here in our mosaic we see a garden made according to this same divine pattern of a perfect imperfection, with a dynamic and not mechanical symmetry. Our mosaic reflects all these associations. For the Persians it came to refer to their expansive walled gardens. Shepherds with sheep and goats, apse mosaic, San Clemente, Rome, 1130s. ing the nave of Sant'Apollinare Nuovo in Ravenna. All is culminated in the material wax becoming immaterial fire in praise of God. Such works seem to flash forth, and are never perhaps can never be repeated. This theme of beginning and end is further alluded to by the depiction (executed in the 7th century) of Jerusalem and Bethlehem atop the triumphal arch. The mosaic aims to encompass not just the beginning but also the end, the fulfilment of Gods work of salvation in Christ. There's that flat gold background that is typically Byzantine in style. Corrections? And above the cross is the Greek word for fish, , the famous acrostic formed by the initials of five Greek words meaning Jesus Christ, Son of God, the Saviour. The Miracle of the Loaves and Fishes mosaic located at the top register of the nave wall of Sant' Apollinare Nuovo in Ravenna, Italy was made circa 504 AD. On the right is Archbishop Reparatus (671-677), receiving from the Emperor the scroll with its promise of privileges. Emperor Justinian, San Vitale, Ravenna, 6th century. The twelve lambs beside him represent all the faithful, and the garden around him is a microcosm of the whole creation that he and all the faithful offer in the Eucharist, and upon which the Holy Spirit descends and transforms. This sign of the Son of Man has been understood by the Church Fathers to be the cross. Christs parable of the lost sheep (Matthew 18:10-14) speaks of the shepherd leaving ninety-nine of his flock to find the one lost sheep. This Privilegia mosaic encapsulates the Orthodox ideal of symphony between Church and state. On one side female Abel the shepherd stands to his right and offers a lamb, and Abraham to his left offers his son Isaac. Christs parable of the lost sheep (Matthew 18:10-14) speaks of the shepherd leaving ninety-nine of his flock to find the one lost sheep. Mosaic The Three Magi In Sant Apollinare Nuovo In Ravenna close. October 13, 2016The Altar and The Portico (pt.1), April 8, 2021Painting as Prayer, The Art of A. Sophrony Sakharov, August 27, 2015Lighting in Orthodox Churches: Liturgical Principles and Practical Ideas, September 3, 2020Being, The Art and Life of Father Sophrony, April 3, 2015Holy Tables with Reliquaries, a Short History. And finally, the walls of the whole basilica would have been another level of enclosure since originally the basilica would probably have been full of mosaic, thus making all its interior like a garden. In the centre is Christ in a medallion. It is here, during the Holy Liturgy, that the Holy Spirit descends and makes the bread the Body of Christ, and the wine His Blood. When modern man makes streetlights for the night he places the lampposts regularly and makes each lamp identical in brightness and colour. martyrs on the other side. Through us the cosmos can become garment and adornment for the Body of Christ. So this hymn traces the stages from God-given nectar, to the work bees transforming nectar into honey and wax, followed by mans work to change the wax into candle. Any ministry that Bishops, priests and lay possess are all participants in Christs ministry. To log in and use all the features of Khan Academy, please enable JavaScript in your browser. At its heart is a medallion bearing an image of Christ. But what of its many differences? (remains, remain), Early Christian, 417-421; Church of Santa Croce, Ravenna; Placidia wasn't actually buried there, but was a patron of it; made of spolia/reused bricks; may have also been a memorial chapel, may have been buried in San Vitale; 13th century held that she was buried in the mausoleum; most likely buried in Rome in St. Peter's, windows first glass, now alabaster; barrel vaults in the equal cross arms; originally made of ancient yellow marble; large sarcophagi, probably last few Roman emperors. Abraham is also priestly, ready even to offer his own son on the altar. And we have also the white garments of Moses and Elijah, which, standing as they do against a golden background, appear not quite so brilliant as the sheep. Theodoric, has taken Italy. I hope to visit this basilica in 2018. They delight the beholder immediately but at the same time possess layer upon layer of meaning, which reveal themselves only to the patient. This garden has a pleasing blend of orderliness and variation. Wipf and Stock Publishers, 2004, page 19. Like the conch mosaic that takes liberties with historical reality in order to reveal the deeper meaning of the event, this mosaic panel also has some interesting additions. Perhaps that could make a good article for the OAJ ?. It is as though Christ were stepping back a little in order to bring our transfigured state to the fore. This haloed saint stands in the midst of the garden, with his hands raised in prayer. They're placed in between the arched windows. Eternitys permanence will not be static but dynamic. But here His voice is suggested by the presence of a hand reaching down from the golden heavens (see figure 5). God the Father ought not be depicted, for He was not incarnate. Which word could best replace allocatedallocatedallocated in line 10 ? Let us put up three shelters one for you, one for Moses and one for Elijah. (He did not know what he was saying.). The figures of Theodoric the Great and others were blackened out of the image under Pope Gregory the Great. This reminds me of something that Saint Paissius of the Holy Mountain once said to me. And yet it also possesses dynamism, movement and life. They are angelic warriors sent to war against demonic enemies and protect the world and the Church. A paradise is a secure enclosure, with the suggestion therefore of permanence; it is a domain, a kingdom; it is a large garden or park; it includes animals; it is a royal park, where the king and queen enjoy the company of their family and friends; and it is a place where God has placed us and given us a task. The event is . but in the fifth century they occupied Italy and (figure 6) These two simple letters capitulate the whole theme of the apse mosaic. SPEAKER 2: What we do have is an extraordinary apse mosaic. In Christian symbolism bees represent the immortality of the soul and the resurrection (for a hive seems to come back from the dead after three months of winter hibernation). It is however not impossible that it is a remake of an earlier work made at the same time as the conch mosaic, in the sixth century. he would take Communion. The Basilica of Sant'Apollinare Nuovo is one of the top sights to see when visiting Ravenna near Venice and Bologna. The upper tier. Likewise, Christ returned to the world with His three disciples after His Transfiguration. But I would suggest that Saint Apollinare, as well as being an individual person, a bishop and a saint, also represents the whole Church in her Eucharistic fullness, giving thanks for and offering all creation. And there is something about this mosaic that gives a sense of completion, wholeness, permanence. It is clear from their branch collars that the larger trees in the mosaic have been pruned. So in our mosaic we see trees, rocks and sheep surrounded by an aura of either yellow or rich green tesserae. Sant'Apollinare Nuovo, built c. 500, renovated 560s, Ravenna, Italyspeakers: Dr. Beth Harris and Dr. Steven Zucker Each side are the four winged creatures, each holding a Gospel. Part explains the special luminosity of our mosaic concentrates not so much on the verticals of the apse is... Surrounded by an aura of either yellow or rich green tesserae beholder immediately but at the same time layer., apse mosaic much greater significance, however, are the sumptuous mosaics that cover the walls the. Under Pope Gregory the Great Great Vespers, Aposticha ) its heart a! Order to bring to fulfilment at Jerusalem either side of the cross the... And the good angels are the Greek letters Alpha and Omega, the fulfilment of work. Clemente, Rome, 1130s the Shepherd stands to his left offering Son! 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Will review what youve submitted and determine whether to revise the article a lamb and., best understood in an artistic sense rather than exploitative a cloud appeared and covered them, and good. Though Christ were stepping back a little in order to bring to fulfilment at Jerusalem a royal park historical...